“It’s that altruistic beauty of the underground that rarely makes it to the mainstream,” says Wobble Events promoter Bryen Beglinger. “The mainstream is all about being treated like cattle by bouncers herding you in to buy $13 drinks and listen to crappy, outdated house music. We want people to know there’s something else out there.”
In March, Beglinger gave his answer to stale nightlife with Wobble Events’ inaugural show at Spin Nightclub, featuring Kraddy, Treavor Moontribe, and local Bassmechanic. Wobble has since brought acts such as Tipper, Eskmo, and, this month, Mimosa, Elite Force, and Wolfie, among others. The fourth installation of Wobble went down July 30 to benefit the Opulent Temple camp at Burning Man.
“They’re one of my enduring memories from my first time at Burning Man,” Beglinger says. “It blew my mind, seeing Stanton Warriors and Paul Oakenfold on the same stage out in the middle of nowhere.”
With roots in public relations, marketing, journalism, and art, Beglinger coproduced the Elysium art and music festival in the summers of 2006 and 2007.
“Elysium was set up as a way to reward people in our community who broke their asses at Burning Man and other local endeavors,” Beglinger says. “There were lots of parties back then with expensive tickets that you got nothing for. Everyone brought their own energy, sound, and experience. We wanted to do the opposite — provide everything. I have the same philosophy for Wobble. We’re creating a vibe. We bring everything.”
That includes visuals, aerial performances, pole acrobatics, hooping, massages, belly dancers, altars, and body painting, in addition to rising and renowned musicians, many of whom Wobble hosts for their first performance in San Diego.
“One of the foundations of Wobble is mixing up genres that don’t often get mixed up,” says Beglinger. “Like last month we had Eskmo playing live trip-/glitch-hop surrounded by electro and psybreaks from Karate Skillz, heavy, dark electro from Jonny Quest, and wobblestep from Mike Mannino.”
“It’s a very exciting time in our scene right now,” he continues. “The outside world is starting to appreciate things we’ve known for years.”